#not just in this movie but the entire wolverine franchise

[brainrotcharacters]

Wade can, in fact,

handle allat

[banneriscarried]

That’s genuinely a true assessment

It would honestly be less gay if Deadpool and Wolverine actually had sex in full view on screen than whatever the fuck they were actually doing in that movie and everybody knows it

my deadpool and wolverine review: you could have replaced 90% of the fight scenes with gay sex and nothing of the plot or tone would have changed, the only thing stopping them is marvel's cowardice

[twilightkitkat]

Thinking about the role of the "love interest" in superhero media and how poolverine subverts this.

The "love interest" in most movies is just a placeholder. Boring. Tame, Predictable.

This is especially true in action media, wherein romance takes a backseat and is often seen as an add-on rather than a main plot point. Romance is either a source of conflict or motivation that serves to drive a character arc forward, but no more or less.

Take, for example, Vanessa. I love her character. Her personality and character are fascinating. However, especially in Deadpool 2 and 3, she serves more as a device to move the plot forward rather than a genuine character. The first movie established her character and importance, so it's understandable why Wade chose to hide his identity and how he slowly came to terms with his new identity. She helped move his character arc of self-acceptance forward, yes, but she also existed as her own entity.

In the movies after this, she isn't treated with the same care. She's used as a central motivation in Deadpool 2, a force that drives Wade to save Russel and confront Cable when his character motivations aren't easily tied to morals. However, that's it. She isn't fighting alongside him or given the same treatment as the other important "family" characters. In Deadpool 3, she's treated with even less care, only having short scenes at the beginning and end of the movie to give Wade a representation of "home."

This isn't to say Vanessa isn't an important character and shouldn't be treated as such. However, the purpose of having a "love interest" in an action movie's plot isn't just to have someone to love. It's almost always to have someone who can be kidnapped or killed to spring the main character into action. It's someone who fades to the sidelines so the main character can show off while showcasing their relationship success.

Consider this: in all of the Marvel comic universes, Deadpool and Wolverine have had many different partners. Different names, different faces. It's common for the "love interest" of a superhero to be seen as an accessory that changes shape depending on the comic artist or franchise. After all, they don't need a cohesive identity to serve their purpose as a "general, digestible reason for the main character to act."

Everyone understands how love can cause people to do crazy things. There is no further elaboration needed, even for morally grey or black characters. It's an easy way to make an understandable motive for the audience. Suspension of disbelief.

And yet, the superheroes remain the same. They get to keep their identity throughout different media. It's always Wolverine and Deadpool. Logan and Wade. Even if they have slightly different plotlines, their core characteristics and intrinsic identity are constant.

Logan could have Jean Gray. Or Mariko. Or Silver Fox. He can have anyone play the role of "love interest," a role that can be shapen by a ball of clay and changed entirely to fit the narrative.

But his "rival" and "best friend" in the multiverse will always be Deadpool. They're notorious for being referenced in each other's media. For fighting. For working together. They are A Set.

This is why I'm so much more drawn to Poolverine than other ships. Wade has different love interests depending on the media type. So does Logan. I can't tie in knowledge from different interpretations into the romance because the love interests are fluid. But with each other, they interact in almost every universe. Have a consistent bond. A "standard." They're soulmates, in a way, forever destined to meet and be important to each other.

This is setting aside how female love interests are treated in male-oriented media in general. They're normally seen as someone to be protected, to stay at home, and welcome back the hero when they return. Some are allowed to be strong, to have abilities, but rarely ever do they stand on equal footing with the male main character. Not where it matters.

This is exhibited in both Wolverine and Deadpool's movies. Vanessa is introduced as a "badass," someone who's part of the underworld and knows how to fight, yet she's often placed in the damsel in distress position. She could match Wade before his mutation, maybe, but after he dons the mask and becomes Deadpool, his work is over her pay grade. The same happens with Mariko in the Wolverine movie: she's initially introduced as someone who can fight, but Logan ends up protecting her almost entirely and is responsible for rescuing her from her kidnapping at the end.

It creates an emotional rift between the side of the "hero" and the side of the "love interest," because it feels like they aren't fighting together for the same cause. It feels like the love interest is treated more as a "reward" for the hero to come back to after saving the world rather than a person.

When the entire movie follows the perspective of the main character as they fight, and action scenes are primarily used to invoke emotion, it feels lackluster to have the love interest stay at home. The most intense moments of emotional connection are typically portrayed between the hero and someone else who understands their suffering who they're trying to reach, such as a villain or rival or friend.

Love interests are never on the same "playing field" as the main character and thus can't relate to their struggle. The director tells the audience that they should be happy or sad when a love interest is on screen, but they don't show the same level of emotional depth when the main point of an action movie is action. The entire premise of the main character is action, and yet the love interest is absent from it. Or a victim rather than a player.

This is why Poolverine subverts this trope. You have two people, each with their own franchise and life. Each with their own skills. Each with similarly powerful abilities.

They are equals and are treated as such by the narrative. They take each other seriously and have an emotional connection because they understand each other's suffering. They both are out on the battlefield, fighting the same war and overcoming their differences. They both are allowed to have "cool" scenes and "sad" scenes and "funny" scenes. They both are given the spotlight to experience character growth and have their own unique internal conflict because they both are strong characters who are narratively important.

They both have chemistry. Which is nearly impossible to attain when the love interest isn't even in the lab.

[el-warverine]

I need to say this somewhere

I think Ryan Reynolds is fucking right to be trying to get Oscar nominations. I know alot of people think DP3 is too goofy and not substantial enough of a film to earn one, and that the odds arent in his favor because Superhero flicks never get any love at the Oscars, but fuck off man the Oscars are a joke.

Ryan and Hugh are fantastic actors. They did a great job. But aside from just the literal performances, for me, they are the true embodiment of all the good shit an actor should be. To be passionate and dedicated to a role, to have fun and make a movie an experience. They delivered the heart of the movies through Deadpool and Wolverine.

The earnings dont lie. The film clearly enraptured a lot of people. It's one of the few movies that i know for a fact that MOST people saw more than once at the theatre.

The sheer effort and tenacity it took for Ryan to kickstart a Deadpool franchise and keep it going to this point, as well as the dedication it took for Hugh to get into shape like that at his age and deliver that performance is easily worth at the very least a nomination. Ryan and Hugh's careers have been so meaningful and examplary for what we love about the concept of an actor to anyone thats followed the Deadpool and Xmen movies.

Certifiably terrible movies have gotten nominations, films that were clearly basic run of the mill fodder. Next time you hear someone say something like "Well DP3 was good, but it's not Oscar good." Remember that these trash heaps got nominations:

Norbit (Best Makeup...yknow for like the fat suit i think idek be so fr rn)

The Blind Side (Best Picture, Best Actress(sandra bullock WON 💀)

Dr. Dolittle (Best Picture + 8 more. Movie was fine, but Fox went to BAT for this one for some reason it didnt deserve all that)

War Horse (Best Picture, Best Cinematography) (this one was like, fine too but...idk who fuckin cares)

Transformers: Revenge of the Fallen (Best Sound Mixing) (entire movie sounded like glass in a blender wdym)

Escape from Tomorrow (WON 6 Oscars and was just about some schmuck being horny at Disneyland)

Im not even gonna mention the animated films, because MY GOD (ok i'll mention two, The Boss Baby and Sharktale)

The Oscars are decided by out of touch numbnut losers, but goddamnit are they one hell of a notch in your belt. If Ryan gets nominations and wins even one award, he might get more free reign, and that's what I want. I want that man as free and unhinged as possible for as long as possible because he is good at it goddamnit. Every comic book/superhero film fan should be rooting for Ryan to succeed so we can get more passion in these movies and less formulaic BS from execs.

Dont be fooled into putting more stock in the illusion of high standards these old farts want to give off than in the genuine dedication of a man and his passion projects.

[avelera]

I know it's been a while since it came out but when thing I really appreciated about Deadpool & Wolverine is that it and the rest of the Deadpool franchise really understood what fans want in a way that MCU movies have otherwise failed to grasp for a rather bafflingly long period of time which is this:

Happy Endings.

That might sound silly or childish (I can hear Deadpool's snort at the rude definition of happy endings in my ear even as I write this) but seriously, when was the last time a Marvel movie or show just gave us an unequivocal happy ending without any ambiguity?

For so long, Marvel has been feeling the need to provide some sort of hook, to set up that "not all is well" in order to keep people coming back for the next film.

But the thing is, I watched Deadpool 1, and Deadpool 2, and I came back for Deadpool & Wolverine even though technically all three ended with a happy ending. All three ended with the hero getting what they wanted, and the age-old reassertion of domesticity that is considered so cliche in so many happy endings (ie, everyone went home with their heterosexual partner and lived happily ever after in their white picket fence after the adventure was over).

What I actually loved, nay, even adored about Deadpool 2 was that it took the time to (spoilers) bring Vanessa back to life. It was in the credits, sure. But Wade/Vanessa is hands down my favorite het ship in the entire extended Marvel universe because they actually feel like they're in love, not just that they're falling in love or might have the chance to be in love someday (like Steve/Peggy) but that they actually have been in a long term relationship and they don't just love but actually like each other too, and they have what it takes to go the distance or, continue to be friends if they part ways as lovers. Like. MCU is so bad at het romance you guys, it's insane, but Wade/Vanessa actually feel like a real loving couple so even if I ship him with Logan too, I love how Wade/Vanessa was handled. I still get choked up about the whole Calendar Girl sequence and I was devastated in the second movie when she died.

And that's why it's so important to me that they brought her back. They didn't just leave it on "the girlfriend got fridged and while the hero still mourns her, he has grown stronger through the trials he suffered in the aftermath, etc etc." No, they understood she's a beloved character too, and it's a fantasy movie, and part of the fantasy is, yes, in the credits using the awesome magical powers at our disposal, we took an extra 10 seconds to make sure you know, as a fan, that everyone was ok in the end. Everyone got to live happily ever after, we brought back people who died, everything got to be ok.

The MCU hasn't done that in ages! WandaVision ends with Wanda losing everything, it's beautiful and devastating but it's also gut-wrenching and unsatisfying, especially after Multiverse of Madness. Winter Soldier ends with saving the world, sure, but the hero doesn't get everything back because we need to hook into the next movie, so Bucky needs to still be on the run and not reunited with Steve. Even Endgame, the end of the whole damn arc, ends with beloved characters (at least at the point of writing this) being dead and staying dead even though we have literal universe altering time magic at our disposal to, theoretically, bring them back and let everyone end on a happy note where they got everything they wanted.

Look, I get it, an all-around happy ending where everything is nicely tied up and everyone is alive and got their loved ones back can feel a bit childish. But throughout the MCU it has felt just so relentlessly withholding that no one gets this unequivocal, unambiguous happy ending in ages. It's like in their rush to hook you to the next movie, they completely forgot that part of the reward for the audience in watching these heroes go on these adventures is the hero getting what they want in the end, and not just getting strung along to the next adventure.

Deadpool understands that. Heck, it understands that you can give the all-around happy ending and still have problems that emerge down the line. Deadpool 2 ends happily but Wade still has problems that emerge in Deadpool & Wolverine, part of them are the outcomes of getting what he wanted that had unexpected consequences but don't diminish getting what he wanted after Deadpool 2. He wanted the white picket fence happy ending, sure, but as a result his life got dissatisfying and his relationship fell apart in a completely normal, human way. That doesn't actually diminish Deadpool 2 and saving Vanessa, btw, because bringing her back to life means life will go on and sometimes life just happens that way. Bringing her back means she has the chance to go on living and sometimes that means making decisions that aren't all about Wade. That's a good thing.

And likewise, Deadpool & Wolverine might get another sequel. I'm actually fine if it does! I'm fine if another villain just pops out of nowhere to interrupt their peace and quiet.

But here's the thing it will be interrupting their hard-won happy ending. They got the happy ending. We got to see Deadpool save his world of 9 people and add Worst Universe Logan to it. We got to see Logan from the Worst Universe find a loving family, even if he didn't get the original one back. We got to see everyone in peace and at rest having got what they wanted and what they needed. We got to see characters we love be happy.

Deadpool as a franchise understands that. It understands that we love these characters and, at some point, we want to see them happy after their trials and tribulations are over. I wish the MCU would remember that more often in its other stories, that not everything needs to end on a hook. Sometimes it can end with happily ever after and that still doesn't mean the story is over forever. Maybe it's just for now, but whether or not the story continues, Deadpool understood we on some level want to see our beloved characters left behind in a good place.

[clueless-fan-critic]

Deadpool and Wolverine: The Prequel to the Mutant Saga

Here's How the X-Men Could Be Part of the MCU

If you're catching up on comics, the X-Men recently are experiencing one of the worst events in their history as mutants in comic book event Fall of X. Long story short, the "mutants being hated" status quo is in play and pulling the entire Marvel Comics Universe into it. With recent success of Fox's most successful leading mutants in the MCU, the audience is now asking the question... What will this mean for Mutants? In this theory article, I'll explore possible directions that the MCU may take with its cast of incalculable mutants.

X-Men Vs X-Men

What I noticed in X-Men media is that it's basically mutants against mutants. I mean, unless you singularly focus on one goal like the Krakoan Era, there's a chance that a mutant will either defect to another team, fight over leadership, or straight up leave because their feelings were hurt. Seriously, the Umbrella Academy can stay more cohesive than the X-men and those guys are a dysfunctional family. Even with legit reasons for leaving or defecting, it just gets tiresome by the fact they'll probably come back with no hard feelings.

My idea for this issue is that the people will only see the X-Men as the problem rather than mutants themselves. Think of a larger scale Civil War scenario with neutral mutants, like civilians, in the conflict getting hurt because of the X-Men's actions. This can also add themes of security or freedom, profiling, and the abuse of power by the government.

Speaking of themes, let us move on to the overall idea that mutants are always associated with. The exact reasons that were explored in a show with a recent mutant in the MCU.

X-Men and Proud

What might be addressed in the MCU is the prejudice and bigotry of mutants compared to people of color, the LGBTQ+ community, and so on. I know that mutants are allegories for minorities, but that's the point. They're allegories. The one thing that I want discussed is whether the hatred is earned by mutants. Because think about it, mutants are called Homo Superiors and considered the next step in human evolution. Those ideas can seriously give you an ego and be generally disliked because of it. They also manifest crazy dangerous superpowers as teenagers, like if Hulk and Thor were emotionally unhinged boys who trashed a city over a taco. That's a more definite reason for people's hatred: constant destruction with no accountability or responsibility. But now we're getting the idea of mutants as a whole being treated as minorities and I feel that wouldn't exactly fit as well if the MCU introduced clearer examples of prejudice and culture.

Another example is the confusion of prejudice for mutants being the same as other kinds like racism and xenophobia. For example, basically Emma Frost, a blonde white mutant, is less likely to experience the same struggles as a black woman or an immigrant from another country. A discussion between her and Kamala Khan, aka Ms. Marvel, really exploring what it means to be an outsider and struggling to be accepted would combine both real-world and mutant issues.

But with the Mutant Saga coming, are we going to follow a new cast of X-Men or reintroduce old ones from the past?

The Old and the New

One advantage of the Multiverse is reintroducing old actors from previous Fox X-Men properties into the MCU. You could have The Gifted's Emma Dumont aka Polaris or Legion's Dan Stevens aka Legion. If you bring back characters as cameos, why not use them as much as possible to really build the MCU Multiverse. This would also give some closure to cancelled shows or movie franchises and maybe those characters to the MCU.

False Hope or Idea Generation?

Now, whether these ideas get any light in the upcoming Mutant Saga or just get shoved randomly into projects for no rhyme or reason, I have no clue. I guess it's good to have that kind of expectation with recent X-Men projects like X-Men 97, but I'm not holding my breath.

[xaeyrnofnbe]

question for people who liked the deadpool and wolverine movie

ok so i've disliked just about every mcu thing since endgame, and i was a diehard mcu fan up until that point. every single project since then has been unbelievably disappointing, like i'm serious i've been excited for and then disappointed by these movies/shows over and over and over, again and again. so i've pretty much entirely given up on the franchise

THAT BEING SAID, i do really love a lot of closely-related, mcu-adjacent projects (venom movies, anything spider-man,) and deadpool in particular i watched recently, one and two, and i really enjoyed them, and got real eager to see the third one

until i saw it was explicitly an mcu movie, which concerned me greatly. and by now i've learned that a good audience reaction and a solid tumblr fandom does NOT make for a movie that doesn't disappoint, as i've learned multiple times over.

so basically what i'm asking is

(elaborations in the tags as to why would also be helpful)

i want to see it but i'm scared it will be bad

[tatteredtoby]

guys this maybe will be ooc but like wade/deadpool and Logan/Wolverine with reader who’s obsessed with the trolls franchise..(targeted at me!!)

“…I swear if we walk in here and hear the weird ass noodles dancing and singing I will bend [y/n] into a Mount rageon.”

*que Mount Rageous playing*

“God damnit.”

Both end up with the songs stuck in their heads. Wades singing them all the time. he watched the movie because he heard about the boy band in it. (Totally not because of how you got all excited the entire movie)

Logan is kinda indifferent. He’ll bob his head to the soundtrack when you play it. Not like wade. When he hears it he just bursts into dance. He dgaf.

[cosmosrebellion]

So because of my currently fixation on Wolverine and the way my brain loves to think up crossovers, I'm imagining how to translate Wolverine into the RWBY universe.

It wouldn't be hard. One of the best aspects of Logan as character is his versatility. You can throw him into any story and it works.

His background: Weapon X is an Atlesian project designed to create super-soldiers to fight against Salem. Logan was kidnapped by them, had his skeleton laced with metal through a horrible process that he only survived thanks to his regeneration semblance, they armed with him retractable claws and scrambled his brain to keep him under control. And I really like the idea of Merlot being a member of Weapon X in his youth, maybe that's where he got his obsession of with controlling savagery.

How would he meet Team RWBY: Here's where it gets fun because there's a lot of options. Maybe Merlot wants revenges, remembers the projects of his youth and that Weapon X was kept in storage, so he awakens Logan and other assassins to fight Team RWBY, so we have him as an antagonist with a possible redemption after he is beaten.

Maybe he is a dark card up Ozpin's sleeve, someone looking for redemption after his years as Weapon X and who Oz sends on truly violent mission that need dirty deeds to be done. Stuff he doesn't want to give it to Qrow for fear of worsening his mental state, but that Logan accepts because he figures it's the only thing he's good for, only now he's doing it for the right cause.

Or maybe he is a broken old man way past his prime who fought Ozpin's war for too long and now just doesn't give a shit anymore. But when a kid inspires to entire world to band together and fight, he decides that it might be worth it to spend his last years fighting so the next generation can have the peace he wasn't afforded.

And honestly, those are just off the top of my head. But I know RWBY fans. Most of you wouldn't care about a short, smelly, angry old man so how do I make you interested? Well bringing in Logan would also mean bringing in his children with whom he has a very complicated relationship. Laura Kinney, Akihiro and Gabby Kinney. They're all super-awesome, super-gay, and some even think cooler than their old man.

Two more notes.

-I'd have all the Wolverines be Faunus. They're about as good a metaphor for prejudice as the mutants, so I think it work to combine some of the themes of both franchises, flawed as they are.

-I'd wouldn't bring in the X-Men, though. To keep things focus I want only want Logan, his kids and the characters related to Weapon X.

This is a silly idea that's been ping ponging around my brain. So I just want it to throw it out there. And I mean, there are two movies were Team RWBY teams up with the Justice League, is this really that much weirder?

[popculturebuffet]

Top 12 Films of 2024

Hello all you happy people! This is something i've wanted to do for YEARS, and finally had the space for, a look at my faviorite films each year. I love making lists and since joining Letterboxd a few years ago it's thorughly endulged that love. But it also got me to fall in love with film and made my journey through horror that started with IT and is still ongoing a blast.

2024 was a neat year in film, and one where a lot of the big tentpole franchises were absent and while we got a bunch of sequels, it's a weird mix of ones that were ineveitble like Deadpool and Wolverine, Maxxine, a new alien, sonic 3, and weird suprises: I mean this year gave us an omen prequel, a soft reboot of planet of the apes, the return of twister and beetlejuice, and the grand return of Wallace and Gromit. For every sequel that was fortold in the scrolls, there was one that while announced long ago still felt like a suprise.

And that's the best way to describe this year: a nice suprise. While ther'es films I expected tobe great and were like Monkey Man or Dune part 2, there's a lot of nice little suprises: I didn't expect Transformers One to be a gorgeous epic, Beetlejuice Beetlejuice ot be so damn fun, or Wicked to be every bit as good as a John M Chu film deserves to be. And I don't think anyone who wasn't already aware of it expected hundreds of beavers, but damn if I didn't enjoy it.

Speaking of enjoying, I got to enjoy more films than ever. In years past I had to rely on having someone to go with me, usually my mom, the rest of my family on a whole family outing or my best friend cory. But having moved to a place close to a movie theater last year, there were plenty I could just go walk up to and enjoy. There are a few also rans like Imaginary, the worst film of the year I saw (I havne't put myself through the sony spider-man films from this year yet), or the disapointing ministry of ungentlemanly warefare, but I also got to see the gloriously gay Love Lies Bleeding when it was there for the week, the moody and atmosphereic the watchers, the also pretty dang gay the bikedriders, the wonderfully greasy Maxxine, the tense as hell Alien Romulus, the even more disturbing now we know it was a documentary about P.Diddy Blink Twice, the glorious and once again gloriously gay Transformers One, the thriller that was better than it had any right to be speak no evil, the Hugh Grantastic Heretic, and of course Sonic 3: 2 Many Jim Carries.

It was a hell of a year and while you can see what I choose you can find out who made it where on the list , honorable mentions, and other reasons to hurl things at me if you ever meet me under the cut!

12. Will and Harper (Directed by Josh Greenbaum)

Will and Harper is a film that thrives off vibes, friendships, and genuine warmth. It follows Will Ferrel who you may know from such films as Anchorman, Anchorman 2: The Legend Continues and Anchorman 3: We Both Know He's Going to Do This At Some Point and his best friend Harper Steele. Harper was a writer for him on SNL a hard drinking party person.. and a closted Trans woman, something they finally came to terms with and came out as recently and something the documentary dives into.

Will's first response is what anyone's first response should be: That's great! Good for you. But while Will is entirely supportive he's also lost in both how to be a good ally and and how to tackle their friendship so he has a wonderful suggestion: a road trip. Harper loved doing those but now has to navigate the relaity of going to roadside dives and other places where she may not feel safe and jumps at the idea, packing tons of cheep beer and pringles.

The trip is a fun one as it dosen't overplay it.. it just.. humanizes and goes into the reality of Harper's life: how free she feels, how her kids feels, and just treats her like a person. It dosen't ignore the reality of being a trans person in a company on the cusp for voting a transphobic facist back into office, Harper goes into a bar herself knowing she might be in danger but wanting to see if she can (And having her emotinal support will ferrel on standbye) and even HAVING will there or a camera crew dosen't protect her: a visit to a texas steak house goes horribly wrong with Will assering her gender.. leading ot everyone turning on him, tons of horrible online comments and the implicit guarnatee the cameras , while protecting them, were barely doing that for a change and WIll feeling guilty.

Harper Steele isn't a purse dog. She's not Will Ferrel's trans friend to say she has one. She's a human being and despite being not as famous as her best friend, the film treats them on equal footing and shows why they are: they rib each other, make jokes, have weird runners (including Will really wanting to go to Dunkin in a way that feels less like product placement and more like Will Ferrel just loves duncan donuts). Harper is a no nonsense woman happy to live her life and to see she can still do the things she loves, while Will is the good natured goofus you'd expect from a man whose spent a scene every movie or two running around in his undies. Harper is both not who will knew and exactly every bit the person he knew, simply a happier fuller version of herself. It's simply two friends hanging out and in doing so shows to people who may of rejected Harper out of hands what most of you reading this already knows: Trans people are just.. people. Nothing less and treating them like anyone else isn't that hard. Nor is it hard to support someone as they transition. You just have to be willing to learn and willing to see them as who they really are. I did it for my sister, and Will Ferrel did it for his best friend.

11. Wallace and Gromit: Vengeance Most Fowl (Directed by Merlin Crossingham and Nick Park, W by Mark Burton)

I reviewed this one just a few days ago so I won't take long here: Vengance Most Fowl is a fun long awaited return of everyone's faviorite duo packed with a masterfull thought out plot, tons of call backs that feel nicely seeded in for more than just nostalgia, and some really damn fine jokes. Check it out if you haven't. In a year this bad it was the cup of tea we all needed.

10. Kingdom of the Planet of the Apes (Directed by Wes Ball, Written by Josh Friedman) This is one of those trailers i got in front of damn near everything, similar to Speak No Evil for the rest of the year. And like Speak No Evil despite trailer fatigue this film fucking slapped. Kingdom is a breathtaking adventure mostly content to just show off it's world: generations after the previous trilogy, itself a high bar that this flim clears, Apes rule over the earth, Ceaser is but a legend and one young ape finds his entire villiage kidnapped and takes off on horseback to go find him. Along the way he finds a human friend, tales of the past, and the hard truth that the past rarely stays buried and conflict is sadly cyclical. I won't spoil much more for this one if you haven't seen it. It's a gorgeous little odessy that just warms my heart every time I think of it with vial lessons on history and how it can be twisted by both those with good intentions and those with the worst and how some will always think something belongs only to them. It's a fantastic film and a fantastic new direction for a franchise I wasn't sure should keep going but damn if Wes Ball proved me wrong.

9. Wicked (DR: John M Chu, W: Winnie Holzman and Dana Fox) Wicked was the loudest suprise of the year. I knew it was coming and as it approached barely any films didn't have the trailer, the marketing was everywhere but I wasn't expecting much. I HOPED it'd be good as director John M Chu had previously directed one of my faviorite films, In the Heights.. which I just realized I haven't revisited since it came out AND need to review sometime.

But thanks to WBD's bungling was criminally underappreciated at release. Thankfully Chu's success here means not only will more people likely check it out but the man can do whatever he wants. Whatever he wants apparently includes Joseph and his Amazing Technicolor Dreamcoat for some reason but I mean... if anyone can get me to watch that it's him.

I liked him. I like Ariana Grande (Least as a performer), Michelle Yeoh and i'll watch anything with Jeff Goldblum. But the idea of sitting through a nearly three hour musical based on a musical I had no attachment to beyond defying gravity and a love of it's initial leads (Who get a truly god tier cameo I won't spoil), and a property I really never vibed with in general aside from thinking The Great and Powerful Oz was kinda okay. It seemed like it'd be FINE, but it didn't seem like the successor I really wanted after enjoying his direction for Crazy Rich Asians and ADORING In the Heights.

Yeah Wicked is fucking phenominal. A lot of it is in it's not so secret weapon, Cynthia Ervio. While I hadn't heard of her she was already well seasoned having done tons of stage work, and been nominated for an oscar for playing Harriet Tubman. It shows as she sinks into Elphelba beautifully, portraying someone both not giving a fuck what everyone thinks.. but also underneath deeply bothered by how her green skin ostracises her from the world. Ervio is a fucking revelation and i'm shocked it took this long for her to break out but better late than never as she owns this film.

Ariana Grande dosen't do too shabby either, making it clear no one else in this day and age could play Glinda with the right mix of alpha bitch, bubble headeness and big heart hidden underneath both. Everyone in this film brings it but these two are it's anchor: it's their story after all and everything rotates around them. Still special kudos to Peter Dinklage who like Jeff Goldblum could get me to watch anything and Dinklage has been in a LOT of garbage.. that i'd still watch. He may only voice professor dillamond but he brings dignity and majesty to the goat and makes the plight of the animals all too painful and real.. and given the times we're in a group being slowly shoved out to slowly elimated them because of one man's prejudice is all too painfully relevant.

I hadn't heard of Jonathan Bailey but damn if he dosen't ooze charm, sex and hidden depths. You can tell from early on his playboy facade is a bit of a put on, something to protect him from the world.. and something slowly slipping as he finds someone who rather than let him dance through life, has him think.

There's a LOT to say about this film I might one day. For now it's just fucking brilliant. It's a film that justfies the split into two films, something that would hurt a lot of musicals and why most have to be compressed into one film, but here works. Not just because of a time skip I hear comes in act 2, but to build out this gorgeous world. The musical numbers aren't super spread out so you don't forget i'ts a musical but the extra time is used to give everything some depth and color. And also even more gay than the apparent truckload already there. This film is gay as fuck and comes off as a love triangle between three people all in love with each other and also Bok's there but doesn't really count. It's a film that's queer, timely and lovely and if you somehow haven't tried it, it's well worth the time investment. If a film that's very sapphic and has peter dinklage as a wise sad goat isn't for you I dont' know how you ended up here.

8. Saturday Night (DR: Jason Reitman W: Reitman and Gil Kenan)

It's the 50th anniversary of SNL this year and the celebration started early with a powerhouse season that includes the greatest song about karening ever

It also contained this film. And while some haven't enjoyed it (Including one of my idols and snl expert Nathan Rabin), I couldn't help but love this film. Is Saturday Night historically innacurate as fuck? Probably. It squeezes in every antecdote about the show's history it can into the 90 minutes before it went live, adds shit for drama and definitely mythologizes the show. The only thing I can say for certain is Chevy Chase was defintely an asshole and that's not exactly something hard to get conformation on.

As a film though.. it's straight fire. It's a pressurey 90 minutes as John Baptistes perfect soundtrack really sells the pressure: our hero Lorne Micheals, a truly once in a lifetime sentence, has to cobble the show together clashing with his own overwrought vision, tension with his creative partner and wife in name only Rosie (played by an awesome Rachel Senoit whose films I'm long overdue to watch) and the various shenanigans of his casts and writers from Micheal Odonghue being that asshole, to Chevy Chase's massive ego, to John Belshi beliving he's too good for this, there's lot of egos, cocaine and chaos to go around. It's a tight 90 minute film: not a minute is wasted. Even squeezing Milton Burle in to play off his infamous hosting gig feels right.. mainly because it's JK Simmons. JK Simmons can do no wrong.

The film does do some. While the historicla innacuracy dosen't bother me how it brushes off their treatment of Jim Henson at times is. I've covered the Land of Gorch Sketches and sadly reports Jim would be a punchine were accurate as the cast mistreating him, refusing to write for him and being dicks to him is just kinda played off when them having to write for him was not Jim's fault. It's not fun watching a bunch of dickheads bully or brush off your own personal jesus who just wants to make people happy. Thankfully he does get a really nice monologue in an elevator with a blood soaked lorne micheals so it evens out a little.

The film is just fun with Lemone Morris getting a nice bit as Garret Morris , and tons of nice little moments among the chaos. It also has Willam Defoe whose a tad wasted as "grumpy exec man they convince their right to", but I feel less bad about it by this point as thankfully someone else knew how to use their Willam Defoe better. It'd be really neat if that was the next entry but instead have...

7. Hundreds of Beavers (DR: Mike Chesik W: Chesik and Ryland Brickson Cole Tews)

Hundreds of Beavers was a nice suprise.. and a film i'm shocked no one told about me sooner. It's essentially a looney tunes sketch mixed with a lets play and a silent movie, a genre the film made me genuinely curious about. My love of looney tunes and impatient wait for a new film (which we'll be getting next year), made this an easy sell: I love good old slapstick and an ambitious indie film that was screened in 2022 but properly came out this year so i'm countin it for this one suck it letterboxd, it was catnip for me.

And it's damn good. Also free on Tubi. It's a simple story: a hapless applejack bootleger in pioneer times looses his booze to some beavers and has to survive in the wilderness and learn to hunt. That's the film. Just one dumbass trying to survive against a whole wilderness of creatures smarter than him and slowly ranking up as he gets more tools either from a local furrier who hates him (his daughter's sweet on our hero at least), a native who gladly trades with him or a wise mentor whose dogs play poker. The film is packed with great sight gags, runners and just plane invention. Ther'es truly nothing like it and had the castle bit not dragged a little, it'd be way higher. And that's the faintest critcism I can give. Hundreds of Beavers is fucking awesome and makes a dumbass fighting a bunch of animals represneted by furries into the greatest thing ever. It's the best comedy in years and proof the medium just needs more of a push.

6. Nosferatu (D and W: Robbert Eggers)

I hadn't seen any of Robbert Eggers films before this, but I love me a good vampire story. I also liked this year's Abbigail and need to watch more vampy goodness in general, but damn if Nosferatu didn't end this year on a high and finally push me to stop procastinating on the Lighthouse. I mean I still haven't got to it but i'm a slow ass motherfucker sometimes.

I waited to see if this flim made the list, as while I missed many a great film in 2024 I need to catch up on (Longlegs, I Saw the TV Glow, The Substance), this thankfully wasn't one of them. Nosferatu is a gothic horror film in every since, a slow build that's worth it. Having watched the kill count on the original (and now badly wanting to watch the original) it follows it closely plot wise, adding a few pivots like adding in it's own van helsing equivlent.

Nosferatu is a moody, horny film, where a dark monster stalks a woman he claimed years ago when she was a teen and dosen't get how fucking vile that is. There's some fucking, a lot of gyration and a lot of morphine for said gyration because this is the turn of the century and women having orgasms was dark and scary to the menfolk. Except Willam Defoe who eats the entire set as the aformentiond Van Helsing Equilvent who is unabashed about beliving a demon did this and gets to dance in flame towards the climax. I won't ruin the context, but I belivie anyone who wouldn't be at least midlly curious about William Defoe cackling madly while surrounded by flames just plain dosen't exist.

Defoe though is a good side dish: the main stars are Lily Rose Depp, who spends the first half comotose, being stalked by Nosferatu (aka count orlock but nosferatu is funner to type), giving out sleep orgasms or being possesed by the count, but gets to stand up for herself in the second half brilliantly and thorughly owns the screen.

The other is horror legend Bill Skaarsgard of IT fame who manages to rack up another iconic horror role. Nosferatu here isn't a man despite an impressive mustache, but pure evil itself, a type of character that's hard to pull off. I prefer a complex villian.. but if you can make one that's just pure pants wetting terror and pull if off you have my repspect and Nosferatu is the most terrifying villian i've encountered in horror. A deep rich voice that commands you to look even when you'd rather look away, a hypnotic horrifying voice. He's often in shadow but when seen he's often a corpse, a THING with the ears and silloutte, something that APPEARS human but instead jsut preys on us. He only cares about getting what he claims is his and will murder , spread plauge and kill anyone who says otherwise.

Thankfullyt he film avoids being anti immigrant propogranda; the supserstious townsfolk seen as goofy little guys in most films are absolutely right and while terrifed of Orlok the only ones who can combat him, while Willem Defoe's character is also an immigrant and the only one of the men who dosne't infantalize lead lady elizabeth. Nosferatu isn't pure evil because he's a corpse man but because he himself as man, as a vampire is a bastard, a true monster and pure terror. Every time he was on screen I was uncomfortable and needed to leave the theater after at least twice. Skaarsgard is just that fucking chilling.

Nosferatu is a film that's both deeply gorgeous, with tons of snow dappled vistas and god tier shots, and not afraid to be hammy with our reinfeld equilvent being a world class ham and Defoe .. well I mentioned the shouting while surrounded by flames didn't I? This film is still in theaters at the time of this review and well worth the 15 bucks.

5. Dune Part Two (DR: Dennis Villenueve W: Villenueve and John Spaihts)

I was amped for Dune Part Two and it did not disapoint. I had some reservations as while I liked the scope and grandeure of part one with fantastic visuals and a deft peformance by Timothee Chalamet. But while I liked it both watching it at home day and date and the reptitive desert visuals in the second half detracted from it's strong world that even if it didn't explain it, felt lived in and intresting enough for me to come back.

And i'm glad I did as Part 2 is fucking triumpuhant, easily earning Villeneuve his third movie and hopefully his second oscar nomination. Part 2 takes the excellent setup from the first time around and gets off running turning what could easily be both a chosen one narrative and a whtie savior narrative into a deconstruction of both: this skinny white teenager coming in and being their messiah isn't a good thing for him or them. It's a roll he dosen't want as Paul has seen it ends in an interstellar genocide, a Jihad with no end that brings peace through tyranny.

And that dread is what drives the film: Paul badly wants to avoid being a mass murderer. As you do. But outside of his girlfriend Chani, played excellently by Zendaya who gets to do way more this go round and plays the sole voice of reason, everyone from his mother to his new best friend to even his mentor are begging him to escalate the war: to end the Harkkonens and the Empire. It's a pile of motherly protectivness, cultish religious fevor and pure uncut vengance that pushes Paul closer and closer to his dark fate. It's what happens when the chosen ones path isn't saving the world or being a bright hero.. but being death destroyer of worlds.

The rest isn't too shabby. Florence Pugh gets a lot of neat stuff to do as Irulan while Austin Butler won my enternal respect as the bestial, horrifying and nightmarish Fade Rathua, with the arena scene being peak film for me. Part 2 is a masterful work that manages to make what would be hopeful in any othe rfilm, our hero ascending and getting ready to fight his enemies, into a true nightmare as he fully succumbs to a bloody genocide and Chalamee makes it a truly chilling finale that will no doubt lead to a perfect conclusion to this trilogy.

4. The Fall Guy (D: David Leitch, W: Drew Pierce)

The Fall Guy's failure at the box office is the biggest box office tragedy for me since In the Heights... it wouldn't be the last one for me this year either. For whatever reason, Audiences just didn't go see this one despite a dynamite cast and David Leitch's excellent track record. It's failure still baffles me as the Fall Guy is a perfectly made action comedy.

The Fall Guy is at once a romantic comedy about a loveable himbo who after a massive tragedy ghosts the love of his life and now has to win her back after his agent tricks him into working on her directoral debut. Add in Hannah Waddingham as said manipulative agent Bryan Tyree henry as his best friend, stunt cordinator and for part of the film sidekick, a good boy he finds along the way and adopts, and Aaron Taylor Johnson as the arrogant star of the film he has to find to save it and you have a true comedy classic that also kicks loads of ass. The stunts are all excellent, owning to Leitch's own stunt background while also being reverent to the sheer work it takes to make a blockbluster. It's a blockbuster about the craft and a love letter to all the people we rarely think about who make our faviorite films. It's funny, action packed and has Ryan Gosling in another amazing performance after Ken. It dosen't top Ken, there's no grand musical number for unless you count sobbing out taylor swift in his car, but it's a tremendous film that i'll defintely watch again. It may of not won the box office's hearts but it certainly won mine.

3. The Wild Robot (D and W: Chris Sanders)

Now for a film that got the box office it deserved and more. The Wild Robot was a film I was worried about once I realized "Wait the animals talk".. and then realized I was stupid for that as not only are talking animals rad, but the film ended up being a gorgeous fable about an autistic coded Robot's journey to find herself while raising a duckling she orphaned with her common law husband whose also a fox but is also Pedro Pascal so he defintely fucks.

The Wild Robot is a simple story told gorgeously, with painted cgi that really adds to that storyboook vibe, giving the film a look that just takes hold of you. Full disclosure: I missed a chunk of the early part of the film because I stupidly didn't get my concesions durin gthe previews, and I still loved this film and will happily rewatch it when it streams this week. It's a gentle, amazing tale about accepting our diffrences, finding yourself and letting go of your child so they can find themselves. There are so many layers to this thing and it more than deserves a full review at some point. Lupita Nyongo gives a career best performance, and the ending sets us up for a sequel that we're thankfully getting. It was a gamble.. but it paid off and in any other year it might've been the best animated film of the year, certainly the best film starring robots... however

2. Transformers ONE (DR: by Josh Cooley, W by Eric Pearson, Andrew Berrar and Gabriel Ferrari)

This one's going to hopefully be brief as I wrote a LENGTHY review of this masterpiece when it came out. I went into ONE with mildly positive expectations and came out of it utterly floored. One is an epic tale of love, loss, fighting against a society that uses you, finding yourself (I Know, again), and two friends and probably lovers divdied by their nature and the truth of their world. It's a fucking masterpiece and i've said that before on this list i'm sure but this is true. It's a shame even more than Fall Guy this one flopped as it wasn't it's fault: unlike Rise of the Beasts and the long string of live action failures (bumblbeee excluded) , this film is everything transformers can and should be and while it didn't succeed the way it shoudl've, it'll forever hold as a classic, a shining sci fi epic in the old style but with modern writing. It's a gorgeous masterwork that begs to be watched again and again and uses familiar frameworks to tell a film that made me feel like a kid again. It's what the star wars prequels felt like as a kid instead of what they are. It's so dang good.

So before we get to the one film that could topple something this perfect the honorable mentions

Honorable Mentions:

Maxxine: Plotwise i'ts a bit of a mess but this film thrives on vibes and still closes out the trilogy on a high note. Goth once again delivers an astounding perfomrance. Plus it has Kevin Bacon as a sleazy detective really loving his villian era.

Heretic: Speaking of Villian eras Hugh Grant plays the emobidment of intellectual superiorist assholes to a hilt, being both creepy and intemidating but also letting cracks show in his intellegence and era of menace and superiority like imitating jar jar binks, being that guy whose mad someone dosen't get his refrence and freestyling to Radiohead's creep.

Speak No Evil: Look i'ts James Macavoy, my macaboy, as an uhinged serial killer trapping people with politness who also loudly belts Gloria. I'm not made of stone

Big City Greens; Spacecation: Another one I reviewe d in full and one that was very close to actually making the list a few times. A cult classic in the making. Check it out even if you haven't seen the show.

Furiosa: A Mad Max Saga; Beautifully shot with an all time performance from both Taylor-Joy and Hemsworth. A true odessy.

Inside Out 2: how it was made was throughly shitty and Disney needs to stop treating Pixar like shit, and trans people. And queer people in general. And just people. A good film despite Disney sucking hard

Beetlejuice Beetlejuice: Is this film a bunch of plots loosely connected by a paperclip and a piece of string? Yes. Does it have Willam Defoe as a cheesy 80's actor whose now a cop for real but still acts like a cheesy character actor? Fuck yes. It's got a stacked cast, great jokes and a great way out of using a pedophile's likeness. It's a messy good time.

Abigail: A bit slow to start but damn does it land. radio silence really cannot make a bad film.

The First Omen: Good intense gripping stuff. Far surpasses the original.

LOTR: War of the Rohirrim: Look there should be more films where , Brian Cox punches a lot of people to death with his bare hands.

Wicked Little Letters: Lower on my list but damn did this one become a sneaky good time.

Alien Romulus: Got me into the alien franchise again. nuff said

So onto our grand winner...

1... Monkey Man ( DR: Dev Patel, W: Patel, Paul Angunawela and John Colee)

This film has held a grip on me since I watched it and is one I badly need to rewatch again. Monkey Man is a film that holds you the whole time even when you take a break, an intense film that never lets you leave our hero or his situation: The Kid is a downtrodden young waiter and fighter who can take a thousand hits and get back up and wants vengance on the elite motherfuckers who burned down his villiage, killed his mom. It's a simple motivation but you can feel that flame the whole time as he works his way up, how he carefully plots his revenge.. only for it to go sideways. Yet it's what drives him at first. It's only by finding fellow outcasts in a group of Hiraja, indian trans and intergender (and according to wikipedia eunchs), who gladly let him train... mostly because he looks damn good with a shirt off but also because their kind and he returns that kindness to save their temple before resuming the rampage.

The plot is simple.. thredbear.. but it works on pure emotion. You follow the kid thorugh every step, every beat as he punches, gets punched and stabbed, trains and then goes back for the grand finale with an army of new friends showing up to back his ass up. It's a film with a lot to say, teaching me a lot about indias inequality and issues and showing sometimes when gradual change won't work, one person can make that change by any means necessary. It's a film with a lot to say, while also being a visual treat. This is Patel's first time directing but youc annot tell with frantic perfect cuts, dripping neon atmosphere and tons of fantastic set pieces. Monkey Man dosen't stop burning till the last frame and won't stop burning in my heart. It's a film taking queues from many , some I'v eseen some I haven't, but all it's own. It's a tale of social justice wrapped in two savage fists and I'm all here for it. More please mr patel.

Thanks for reading, and remember, i'm pullin for ya we're all in this together.

[gen13ordinaryheroes]

Hi !!! Regarding that recently popular post of yours about female characters always existing to indulge the male protagonist or to get involved in something romantic I COULDN'T AGREE MORE , I don't know if it's bc I'm aromantic but I'm just so tired of getting into a movie, book, series with well written female characters only for the writers to give them some sort of romance that most of the times serves as a weakness , or is there to show that she is indeed human guys look she isn't a bitch who only cares about her work /purpose etc. Like give me a fucking break , women can have other flaws and weaknesses it doesn't always have to be a romance thing . It's almost like female characters can only make mistakes or act flawed only when it comes to romance otherwise they are annoying and problematic. There are so many media comics, books , anime, cartoons with male protagonists that never got them romantically involved and yet they are considered complex and fleshed out characters. GIVE ME FEMALE CHARACTERS LIKE THAT please 🙏. Sorry for my yapping , could you please recommend me some of your favorite media with female protagonists that dont focus on romance . I'll take anything, I'm desperate 😮‍💨

List compiled from checking my back-issues and polling multiple discord servers. Extremely comics-heavy because this is a comics blog.

(*) indicates that I have not personally read/watched/played/etc whatever is listed, so I can't personally vouch for it.

Also, due to the fact that I am not personally familiar with everything listed, I can't provide relevant content warnings. Some of these are significantly heavier than others. Some of these are parts of larger franchises that may not make since without background knowledge.

Comics/Graphic Novels:

Amethyst: Princess of Gemworld (1983), (1985), 1986 one-shot, Amethyst (1987).*

Batgirl (2000)

Batgirl (2009)* (these get separate entries because they're about different characters)

Birds of Prey (1999)* and (2010)*-- some romance, but it's not the focus

"Most Black Widow runs"*

Botticelli's Apprentice by Ursula Murray Husted*

Champions (2018) -- ensemble cast with multiple female characters. Some romantic plots, but not the focus.

Dark Spaces: Good Deeds (2023)

DIE (2018) -- ensemble cast with transfem/genderfluid lead. She is married, but her wife exists mostly off-screen, and romance isn't a major plotpoint.

Exiles (2018) -- team book with female lead, I don't think there's any romance, though characters may reference past romantic entanglements

Gotham Academy (2014)*

Harrow County (2015) -- I don't think there's any romance with the main character

Hawkgirl (2023)*

Huntress (1989) -- some light romance, but it's not the focus.

Lumberjanes* -- there is some romance between the leads, apparently, but the main focus is friendship.

Manhunter (2004)*

Patsy Walker, AKA Hellcat! (2015)*

Powergirl (1988) and (2009)*

Radiant Red (2022)* -- main character has a fiance but I am told this is not a major aspect

Scarlet Witch (2015)

Something is Killing the Children (2019-ongoing)

Unbeatable Squirrel Girl (2015), (2015-2017) -- this does feature some light romance, to memory, but I don't think it's central

Unstoppable Wasp (2017), (2018-2019)* (aspec main character and aspec writer)

Wonder Woman: the Hiketeia

Wonder Woman: Historia

World's Finest (2012)

X-23 (2010), All-New Wolverine (2015), and X-23 (2018)

X-Men (2013) -- almost entirely female cast, no romance

Gwenpool, the character-- I know some of her earlier stuff is rather romance-centered, or at least includes romantic plots, but more recently the character is explicitly aroace, so you might be interested.

Anime/Manga:

JoJo's Bizarre Adventure part 6: Stone Ocean* (some romance, but not the main focus)

Magical Girl Dandelion*

Nausicaa of the Valley of the Wind

"Any Ghibli movie with a female protagonist", Spirited Away*

Witch Hat Atelier

Movies/TV:

Alien

The Descent*

Derry Girls*

Evil Dead (2013)*, and Evil Dead Rise*

Hellraiser*

Video Games (blanket statement: I do not play video games. I am not personally familiar with any of these.)

BloodRayne

Castlevania: Order of Ecclesia

Fatal Fame franchise

Resident Evil 2, 3, Resident Evil 8 DLC: Shadows of Rose, Resident Evil: Revelations 1 & 2, Resident Evil: Code Veronica

Silent Hill 3

Books

Wayfarers series* by Becky Chambers, especially A Closed and Common Orbit, which has 2 female protagonists and 0 romance. Can be read as standalone.

Tamora Pierce's body of work*-- the amount of romance may vary book-to-book.

I hope this is helpful to some extent or another :) -- others are welcome to add their own recommendations in reblogs/comments.

[crascet]

Final X-Men Movie Tier List Update- Deadpool & Wolverine (Non-Spoiler)

Now finally back from D&W and it was a great movie! I loved the fight scenes with the first fight between Wade and Logan and the last fight being standouts. Logan and Wade are just great together here and how they develop their friendship is the best part. Cassandra Nova is gleefully sadistic here and a great performance put there.

I can't really go too much since that will go into spoilers, but there are surprises here that made me happy. However, I will say that my last post was strangely fitting here since the main message of the movie is preserving legacies, even if they aren't well liked as they are now.

And that's that, all the X-Men movie from Fox and now including D&W, so now all that's left is...

THE FINAL RANKING (in my opinion)

#14. X-Men: The Last Stand- A movie that just pisses me off the more I think about it.

#13. X-Men Origins: Wolverine- An eh movie with some interesting stuff, but that's it.

#12. The New Mutants- Very interesting premise, but it was alright.

#11. X-Men: Apocalypse- An ok movie carried by Erik.

#10. X-Men: Dark Pheonix- Very good first half but falls apart through the other half. Really wished there was a retry for this one.

#9. Deadpool 2- Good movie with moments and characters that I liked, but not as good as....

#8. Deadpool- A good, funny movie that redeems fans hope for Wade in this franchise.

#7. The Wolverine- Very underrated movie that should deserve some more attention honestly.

#6. X-Men- A damn good way to start off this whole franchise.

#5. Deadpool & Wolverine- A great movie that serves as an excellent send off to the franchise.

#4. X-Men: First Class- Great movie that shows the start of Charles wanting peace between mutants and humans and the rise of Erik becoming Magneto. Great performances by McAvoy and Fassbender.

#3. X2- Takes everything from the first film and elevates it to 11. Best villain of the whole franchise with Cox as Stryker and the great film debut of Kurt.

#2. X-Men: Days of Future Past- Amazing time travel movie with a great dynamic of Logan and Charles, an iconic moment with Peter, and the best climax in the entire series.

#1. Logan- A straight up masterpiece that I just love talking about since I first watched it.

[frankendykes-monster]

Of course, this is the fundamental issue with Deadpool and Wolverine. It’s not a story, it’s a collection of familiar intellectual property bundled into a two-hour package, and fans would complain if Wolverine either waited to put the costume on or eventually symbolically took it off. So the costume stays on for the movie’s runtime, because that is the priority here. That’s the primary purpose of the movie. Even the most basic storytelling logic is secondary to the desire to pander to empty nostalgia. It’s very interesting what Deadpool and Wolverine can and cannot joke about, what topics are deemed out of bounds for this most irreverent of franchises. There are no references to either T.J. Miller or Jonathan Majors, though that is to be expected. There are no references to Cable, Domino or Julian, despite the fact that they formed the emotional crux of the last film. They’ve seemingly been replaced by Shatterstar, who is alive for some reason. And who Deadpool no longer hates, for some reason. Under the Disney brand, Deadpool and Wolverine is thoroughly domesticated. Any implication that the making of this movie was troubled is sorely out of bounds. There is another small but appreciable shift between Deadpool and Wolverine and the previous two movies in the franchise. The opening credits in Deadpool and Deadpool 2 were irreverent and passive aggressive. Deadpool was directed by “an overpaid tool”, Deadpool 2 was directed by “one of the guys who killed the dog in John Wick.” In contrast, Deadpool and Wolverine is “a Kevin Feige production” and “a Shawn Levy film.” Apparently there are some things that you don’t joke about. That’s Deadpool and Wolverine in a nutshell. Or a fan-service-y yellow costume.

Still, there is something interesting here. Last year’s summer blockbusters were largely about how man had killed god, whether literally or metaphorically. The High Evolutionary stepped into the role of creator in Guardians of the Galaxy, Vol. 3. The entire journey of The Creator was to turn off the life support keeping “the Creator” alive. Barbie was about the exile from the Garden. Fast X found Dante (yes) trying to blow up the Vatican because he died and discovered there was no afterlife. Oppenheimer finds mankind taking atomic power into their own hands, “a terrible reckoning of divine power.” Loki imagines what it means to kill He Who Remains. As such, it’s interesting that this year’s blockbusters seek to fill that existential void with something: intellectual property. It’s no surprise so many of this year’s blockbusters are about intellectual property surviving the literal or metaphorical death of the author. Deadpool and Wolverine survive the merger and acquisition of Fox. Harold contemplates his creator’s mortality in Harold and the Purple Crayon. IF was about the idea that nobody outgrows their childhood imaginary friend. Argylle is the story of an author who discovers that she is ultimately a character in her own narrative. In these stories, fiction survives the loss of its creator. Intellectual property endures. Indeed, intellectual property moves to fill the gap. So many modern films are “spreadsheet movies”, films about watching companies celebrate how much stuff they own. Space Jam, The Flash, Deadpool and Wolverine. There is no story, no theme, no purpose, no character. There is only intellectual property, imagery and iconography to be memed and reproduced and reimagined and reworked, until any residual meaning is completely erased. But intellectual property doesn’t just survive. It redeems. It will save you. It is your messiah. What is Madame Web but A Very Spider-Man Nativity, the story of the birth of one Peter Benjamin Parker mythologised, with three wise Spider-Women in attendance? The joke in Deadpool and Wolverine is that Deadpool is “Marvel Jesus”, but the film is too smart to play that straight. Instead, it casts Wolverine as the messiah. Wolverine is “the anchor being.” Only through Wolverine’s death and rebirth can the world itself be redeemed, the universe born again, the centre allowed to hold. Hell, he’s even crucified at one point in Deadpool and Wolverine. [...] (It is telling that even the void has no room for anybody but superheroes. Second chances are reserved entirely for pieces of recognisable iconography, not for ordinary people. There is no humanity to be found in Deadpool and Wolverine, the narrative equivalent of watching an executive move items around a spreadsheet for two straight hours.)

[the-masked-reviewer]

X-Men (2000) Review

potential spoilers ahead..

This movie has really good CGI and special effects. The effects feel real and do a wonderful job of putting you into the movie's universe. Considering this was over 20 years ago, and the current quality coming from the same studios, I am truly impressed by what they were capable of delivering. The writing and the casting both do a good job of bringing these characters and their world to life. The fight scenes are well choreographed and really fun to watch. The story sets up the rest of the franchise and does a lot of world building. There is quite a lot of exposition, and while the movie does have an interesting story, the remainder of the movie really leaves you thinking that it's building towards later movies and not something that is really its own thing. Something I think contributed to that feeling is just how much time is spent focusing on Wolverine and not the entire team and their dynamics. I understand why they chose to focus on Logan. He's one of the most well-known characters in the X-Men franchise. However, I wish the movie just focused on the team and their dynamic as a whole. They still do a pretty decent job at introducing the rest of this version of the team and start to show some of the inner-team dynamics, just not as much as they could have.

[nums-bird]

My 2024 favs but I only consume media

Music(Albums)

1.Puberty 2 by Mitski

2.Lush by Mitski

3.Yaelokre series

6.literally everything from epic the musical😭

7.The rise and fall of the Midwest princess by chapell roan

8.Vending machine of love by The Stupendium

9.Lungs by Florence + the machine

10.Superache by Conan gray (literally been obsessed with it for 2 years,)

Media

1.Avatar the last Airbender (og cartoon)

2.Dungeon meshi(probably my favorite anime this year)

3.Haikyuu, specifically cuz I rewatched the first season and watched the movie(no one is shocked)

4.Any sonic franchise tbh(prime,sonic x,boom,sonic 3)

5.Transformers media(I blame transformers one)

6.Ultraman rising(I MISS THEM SM😭😭)

7.Deadpool and Wolverine (def my favorite movie this year)

8.The wild robot (literally my favorite animated movie rn)

9.Alien stage(does this count since I've known about it from last year but never watched them??)

10.Arcane(literally took up my entire November)

Fanfiction

I'm prefixing by saying that I have literally just been reading sakuatsu this year

[hellou-i-guess]

Hello, hello

Welcome to episode 2 of Things that frustrate me, Hellou, for some reason

Today I present to you:

STOP CALLING IT A MULTIVERSE IT'S NOT A MULTIVERSE

This entire post came to be simply because I have seen many people and videos say 'All franchises (MCU and Star Wars most frequently) now want a multiverse' or something along those lines.

Now onto the program:

It's just semantics, really.

I think that it is pretty clear what the word 'multiverse' stands for, but I like the order so you get the unnecessary etymology.

The word 'multiverse' is made up of two words - multi and universe. It's used in science and storytelling to tell us that there are multiple different universes that happen at the same time where things are different.

From a storytelling perspective it's mostly used in comics. Firstly used in 'The Flash', but now commonly tied with MCU because of the Multiverse Saga.

And here is my a bit harsh opinion - MCU is not a multiverse. Currently at the very least. Not many things that are called 'multiverse' are actually functioning multiverse.

They deal with the multiverse but are not the multiverse.

DC and Marvel as comics are multiverses, because they have comics happening in different universes to theirs, but I will not be focusing on those, because I don't want to entangle myself into like 90 years of comics and retconning and 'is this now cannon or not or did it happen on Earth xxx'.

So there are a couple of examples I would mainly like to focus on in this amateur essay - Star Wars, DCU (the presentation on Gunn's plan for it specifically), MCU - the multiverse saga and 'Legend of Zelda' Franchise (post 'Ocarina of Time').

Gunn's plan for DCU

This will be brief as we don't know much about how this will actually pan out, but DCU as it is planned is actually a multiverse.

Simply due to them not dismissing the other movies and saying that they plan to make movies not connected to the storyline that they will call 'Elseworlds' stories.

So essentially the story is taking a place in another universe and exists inside DCU it just isn't the part of main continuity we are following.

That is a multiverse as they exist inside the same entity with same characters, but in different universes. Simple enough.

MCU - The Multiverse Saga

Unlike the above mentioned DCU, the MCU deals with multiverse. Doctor Strange, Ant-man, Spiderman and Loki are characters whose stories are interconnected with the multiverse - hence the name of the saga.

However, MCU as entertainment entity owns no films or TV shows that have stories running or happening in different universes that have nothing to do with the main continuity. All of the stories take place in one universe with brief touches on other universes.

If the MCU, for example acquires Iron Man: Armored Adventures and that comes under the MCU umbrella, then, yes, the MCU is a multiverse, but until that or something similar happens it is not a multiverse.

'Deadpool and Wolverine' does not change this fact as the MCU has acquired characters, but not the movies from 20th Century Fox. They essentially have the same entrance to MCU as America Chavez.

The Legend of Zelda - post 'Ocarina of Time'

As anybody who played the games or has watched a lore video explaining the Zelda timeline at 2am instead of sleeping will tell you - it's a mess.

I'll be short (shocking), after the events of 'Ocarina' the timeline splits into three - the hero is successful which leads into child and adult eras and Ganondorf succeeds. Different games happen during this three eras and they are fully independent of each other and events that happen in them. 'Wind Waker' has no impact on 'Twilight Princess'.

This was specifically included for that rift in the timeline, because whether 'The Legend of Zelda' is a multiverse depends on how you see the multiverse.

If your definition of multiverse is completely different universes that have existed independently of each other then no, it is not a multiverse.

If you count diverging timelines as different universes branching out from the same one then yes, it is a multiverse.

Of course, these are only valid if we ignore the existence of 'Breath of the Wild' and 'Tears of the Kingdom'.

Why? Because of their placement in the timeline.

If the timelines converge sometime before the events of 'BotW' then no, it is not a multiverse, just a timeline issue bordering on multiverse.

If they don't refer to previous if loop.

Unfortunately, 'BotW' has no official placement in the timeline and this thing is still murky. I have seen people put it in different spots in the timeline.

Star Wars

While we're on the topic of timelines. Star Wars is the most frequent franchise I have seen referred to as the multiverse and it's just not.

It's the simplest example here do dissect.

It's stories taking place in different points in the same timeline of one universe. There is no mention of other universes of diverging timelines.

Same as 'House of the Dragon' and 'Game of Thrones'. It's the same universe, it's just that one takes place nearly 200 years before the other. There are just larger time jumps and different political conflicts and state of political rest (empire and republic).

In conclusion, just because a franchise has different projects or deals with the multiverse does not mean that franchise itself is a multiverse.

If you read this far - thank you, sorry for the long read

:)